Sabine Doran

Sabine Doran

Associate Professor of German and Jewish Studies

20th- and 21st-century Literature and Film; Visual Studies; Holocaust Studies

243 Burrowes Bldg.
Email:

Education:

  1. Ph.D. Free University of Berlin, Comparative Literature, 2004
  2. Visiting Researcher, Stanford University, Comparative Literature, 1996-99
  3. M.A. Philipps-University, Marburg, German Literature, Film Studies and Philosophy, 1993

Biography:

Sabine Doran is Associate Professor of German and Jewish Studies. She works at the intersection of literature, visual culture and Holocaust studies. Dr. Doran’s research focuses on color and its relation to theories of race, material history, and religious thought. Her first book, The Culture of Yellow, or, The Visual Politics of Late Modernity (Bloomsbury, 2013), explores the cultural significance of yellow as a color of stigma and scandal. In recent publications, Dr. Doran has traced representations of stigmata in contemporary art and film. She is currently completing a book entitled Blood and Pixels: Stigma Power in Media Art, which engages with critical and artistic reflections on “bloodless violence” (Walter Benjamin) in the aftermath of the Holocaust.

Current and Recent Courses:

  • GER / VSTUD 597 The Politics of Color
  • GER / JWST 128 Representations of the Holocaust
  • GER 489 German Film
  • GER / VSTUD 540 The Holocaust in Visual Culture and Theory
  • GER 440 Jewish Berlin

Recent Publications:

“’It’s not Blood, it’s Red’: The Color of Resistance on Screen,” (under review).

 “Yellow Flower / Stigma Power: Tropes of Resistance,” in: Yellow Book, He Xiangyu Studio (Berlin: Hatje Cantz, 2019), 139-183.

“Archival Art and Open Wounds: From Hofmannsthal to Installation Art,” Seminar: A Journal of Germanic Studies 53.3 (2017): 234-250.

“Ghost with Open Wounds: Ruiz’s Spectral Turn to Benjamin’s Photographic Unconscious,” in: Raul Ruiz’s Cinema of Inquiry, ed. Andreea Marinescu and Ignacio Lopez-Vicuna (Detroit: Wayne State University Press, 2017), 145-158.

“Die Ambivalenz des Gelben und die Kunst des Skandals,” in: Erkenntniswert Farbe (The Cognitive Value of Color), ed. Margrit Vogt and André Karliczek (Berlin: Ripperger & Kremers, 2014), 151-169.

The Culture of Yellow, or, The Visual Politics of Late Modernity (London: Bloomsbury, 2013).

“Im Kulminieren zerschellen: Ein Gegenentwurf zum Gesamtkunstwerk in Hans Henny Jahnns Perrudja,” in:“Es ist seit Rahel und erlaubt, Gedanken zu haben, ed. Steven R. Huff and Dorothea Kaufmann (Wuerzburg: Koenigshausen & Neumann, 2012), 207-229.

“The Aesthetics of Postcolonial Cinema in Raoul Ruiz’s Three Crowns of the Sailor,” in: Postcolonial Cinema Studies, ed. Sandra Ponzanesi and Marguerite Waller (New York: Routledge, 2012): 143-156.

“Writing van Gogh and Francis Bacon, Mayroecker’s New Gesamtkunstwerk,”  Gegenwartsliteratur: A German Studies Yearbook 10 (2011): 116-138.

“Synaesthesia in European Film Theory,” in: European Film Theory, ed. Temenuga Trifonova (New York: Routledge, 2009): 240-254.

“Chronos/Chroma: Yellow Figures in Proust’s La Prisonnière and Bely’s Petersburg,” The Comparatist 28 (2004): 53-75.

“The Temporality of Short Fiction and the Yellow Nineties,” in: Tale, Novella, Short Story: Currents in Short Fiction, ed. Wolfgang Görtschacher and Holger Klein (Tübingen: Stauffenberg, Studies in English and Comparative Literature, Vol. 20, 2004), 81-89

 

https://www.bloomsbury.com/us/the-culture-of-yellow-9781441169495/